For many centuries, the interaction between East and West has been a fabulous dwell for art and storytelling. From the days of medieval merchantmen to the era of the great white hunters of imperialism, to our modern day fascination with Japanese cyberculture and the much debated rise of China, the East has lingered in Westerners’ minds as an irreplaceable image of otherness.

Unlike our present day of interconnectedness, globalization and what-not, up until the nineteenth century, the Orient was very much a place of mystery, inhabited by people alien to Europeans’ experience, an exotic, cruel, and barbaric refuge for Western imagination. Critics of Orientalism have done much to cast shame upon our often patronizing and bizarre representations of Eastern life and tradition, but fortunately for those incorrigible aficionados of Oriental romance, steampunk allows us to reject the chains of reality and all the racism and guilt associated with it, to explore anew this imagined world of sultans and saber-rattling Islamic conquerors; harems and white slavery; samurai, dragons and dark, bustling bazaars frequented by the strangest sort of folk. Isn’t this, after all, steampunk’s very premise? To delve into a past that never really was. The Orientalists’ world may never have existed but its history is so powerful that up to this very, Westerners are smitten with it. With this issue, the Gatehouse Gazette is no exception.

As the yet undiscovered realms of Asia are so vastly different, so Victoriental steampunk must differ depending on where it takes place. The deserts of Arabia and the forbidden mountain ranges of Afghanistan may evoke visions of ancient citadels and fata morgana and deserted monasteries atop barren peaks; the jungles of India and Indochina invite adventurers to search for booby trapped remnants of lost civilizations while temples and palaces of spectacular wealth loom beyond, in the lands of Cathay.

In this issue, we, too, travel throughout all of the Eastern World, from Meiji Era Japan to Colonial India to Chinese magic in nineteenth century London.

There is non-Victoriental content on offer as well however, including an interview with Hugh Ashton, author of Beneath Gray Skies, an alternate history novel that is reviewed in this issue. There are your regular columns and a contribution from Sir Arthur Weirdy-Beardy, our correspondent in London.

Welcome to The Gatehouse today, dear visitor! As you will have noticed, our posting schedule has come under pressure lately with less updates than you may have come to expect from us. Sadly, real life is getting in the way of more important things and while we won’t close shop altogether, we can’t offer daily postings anymore for the time being.

The upcoming issue of our magazine, the Gatehouse Gazette has been delayed due to similar circumstances. Do not despair though; we will have a beautiful new edition ready for you by next week!

As this is still a proper Bulletin, we do of course have a number of links for you.

Step into the past at Time Warp Living, a bustling new community frequented by vintage enthusiasts. Carmen Johnson has discussions, photos and video on offer along with plenty more good stuff to keep you entertained for hours!

Those interested in steampunk period building styles ought to visit St Croix Architecture which contains “the most extensive collection of original, hand-colored, antique nineteenth century architectural plans and prints in the world.” Moreover, the site features original gelatines, lithographs and photogravures.

At our forums, the Smoking Lounge, members are talking about strange ships, steampunk in the home, The Wolfman, Project Arbiter and the death of Charlie Wilson, former US Congressman from Texas. Know that we always welcome new blood at the Lounge, so hesitate no more and sign up today!

The masterpieces of Brazilian architect Marcio Kogan are magnificent, streamlined monuments to mid-century architecture and design. Reviews often mention Ludwig Mies van der Rohe and Frank Lloyd Wright though Kogan himself notes the influence of Ingmar Bergman, Federico Fellini and Andy Warhol on his work.

The Paraty House, pictured here, is located on one of the hundreds of islands near the colonial town of Paraty, close to Rio de Janeiro. “Its elegance,” notes The Cool Hunter, “comes from the seamless link between indoors and out, from the use of native wood, stone and vegetation, and from the minimalist, sweeping vistas that make so many of Kogan’s houses appear as if they were either taking off or recently landed.”

Click here for more pictures at The Cool Hunter.

Back in the early days of the Cold War, surviving a nuclear holocaust didn’t seem out of the question at all. As this January 1951 advertisement of the Mutual of Omaha—“The largest exclusive health and accident company in the world”—proclaims, “Whatever your attitude toward use of the atomic bomb you must live with the fact that it exists.” As such, Americans had to learn “common sense rules” to protect themselves against an attack. “The wise citizen of this atomic era will memorize them so thoroughly that their use would be almost instinctive.”

Immediate action, should a surprise atomic attack occur, could mean the difference between life and death. First sign of an atomic explosion would be an intensely bright light. You must resist the impulse to look toward the source of this burning brightness. Rather, use the next one or two seconds for quick protective action.

What do do? “Drop to the ground instantly if you are in the open” and “shield yourself from the flash of brilliance.” Next, “curl up” for unless you “happen to be close to the immediate area of the bomb,” your greatest danger would be from flash burns.

Radiation “can be dangerous,” warned the ad, “as far as two miles from the point of origin.” Fortunately, “clothing [...] can usually prevent rays from reaching your body.” Why, there’s really nothing to it, if you think about it! Oh, how I learned to love the Bomb...